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Horror's Seduction through Art: Death Representation

Horror's Seduction through Art: Death Representation

Teresa Lousa
Copyright: © 2017 |Pages: 18
ISBN13: 9781522505259|ISBN10: 1522505253|EISBN13: 9781522505266
DOI: 10.4018/978-1-5225-0525-9.ch006
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MLA

Lousa, Teresa. "Horror's Seduction through Art: Death Representation." Seduction in Popular Culture, Psychology, and Philosophy, edited by Constantino Martins and Manuel Damásio, IGI Global, 2017, pp. 112-129. https://doi.org/10.4018/978-1-5225-0525-9.ch006

APA

Lousa, T. (2017). Horror's Seduction through Art: Death Representation. In C. Martins & M. Damásio (Eds.), Seduction in Popular Culture, Psychology, and Philosophy (pp. 112-129). IGI Global. https://doi.org/10.4018/978-1-5225-0525-9.ch006

Chicago

Lousa, Teresa. "Horror's Seduction through Art: Death Representation." In Seduction in Popular Culture, Psychology, and Philosophy, edited by Constantino Martins and Manuel Damásio, 112-129. Hershey, PA: IGI Global, 2017. https://doi.org/10.4018/978-1-5225-0525-9.ch006

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Abstract

Regarding the horror is possible to identify a paradox: the binomial repulsion and attraction. Art has always had a privileged role in Horror's representation, being a favorable medium to its transfiguration. The idea that beauty was an unshakable criteria of artistic representation is quite naive, particularly if we think about the artistic production since modernity. Not only art represented the horror and the macabre since immemorial times, but it also has been a way of reflection about death, the most inscrutable mystery of life. The Abject Art, for instance, search for a lost and desired territory: the body without guilt. Revealing the eschatological nature of the body, several contemporary artistic works put the spectator in constant ambiguity between pleasure and pain, desire and disgust, namely when such works use the death body as an artistic material, breaking, in a fatal seduction, the most feared of the social taboos.

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